Terry Neason tells a funny story - one of many - about her relationship with her treadmill. It's about getting in shape for the show, of course, yet the irony is that she might easily swap the treadmill for the Citizens' studio floor. Performing in the round, Neason must cover a decent distance even in this smallish space as she takes her songs, recitations and gallusness to the audience personally.

Truth be told, it's the show itself that might shed some weight. Neason's great strength is in finding songs with character and bringing them to three-dimensional life. There are some great examples here, not least Dory Previn's Be Careful, Baby, Be Careful and Taffeta and Tears, Donny O'Rourke and Dave Whyte's tale of a GI bride-going-on-widow. This could easily slip into cloying sentimentality but Neason turns it into a Scottish arm of the Kurt Weill school.

She's in her element, too, on Peter Nardini's Wishaw Cross, a kind of home thoughts to - rather than from - abroad, observed with typical Nardini wit and inhabited as much as performed by Neason.

Poems about bums and brickies add to the hilarity. Near Oprah-style rapport with trusty keyboardist Brian Prentice, however, begins to grate and, while her song choices are admirably eclectic, with phantom guitar lines and programmed drum tracks, she sails close to karaoke covering Sting, Newton Faulkner, Snow Patrol and U2. That said, Coldplay's Fix You sounds like it was written for Wildcat Theatre-era Neason and the voice itself, with the power that has been known to slip into bombast harnessed to maximise tone and timbre, remains an instrument to reckon with.